GIFT  OF 


STUDYING  THE  PLAY 

By  ALLISON  GAW 


STUDYING  THE  PLAY 


zjf  Questionnaire  Method 


BY 


ALLISON  GAW 

Head  of  the  Department  of  English 
University  of  Southern  California 


1921 

UNIVERSITY  OF  SOUTHERN  CALIFORNIA  PRESS 
Los  ANGELES,  CALIFORNIA 


Copyright,  1921 
By  Allison  Gaw 


STUDYING  THE  PLAY 

oA  Questionnaire  Method 
I.    Formative  Influences  at  Work  in  the  Play 

Xote:  A  play  is  usually  the  result  of  the  interaction  of 
at  least  four  influences: — the  author;  the  early  audiences; 
the  theatrical  structure  for  which  it  was  first  written, 
n'ith  the  involved  possibilities  and  limitations;  and  the 
original  producing  company.  It  may  also  show  the 
effects  of  the  influence  of  any  of  five  others — a  source  of 
the  plot  (in  literature  or  in  life),  a  special  occasion  for 
which  it  was  written,  a  regisseur  (or  a  stage  manager) ,  a 
reviser,  and  (in  the  printed  form  only)  an  editor. 

a.  (1)   At  what  date  was  the  play  written?     (2)   At 
what  date  was  it  first  produced?     (3)  At  what  date  was 
it  first  published?     (4)  What  is  the  evidence  for  these 
dates  ? 

b.  Was  this  play  affected  by  the  tastes  and  prejudices  of 
any  given  audience ?    If  so,  in  what  way? 

c.  How  was  it  affected  by  the  physical  conditions  of  the 
theatre  for  which  it  was  written  (as  to  picture-stage  or 
platform-stage,  the  size  of  the  stage,  the  size  of  the  audi- 
torium, the  presence  or  absence  of  scenery,  the  nature  of 
the  scenery,  the  lighting  conditions,  and  so  on)  ?    Try  to 
visualize  the  original  performance. 

d.  (1)    Was   the  play   wrritten   for  a   given   company? 
(2)   How  many  players  would  be  required  for  its  per- 
formance?    (3)  Was  the  structure  of  the  play  or  were 
the  characterizations  in  it  affected  by  the  physique,  the 
temperament,  or  the  special  abilities  of  any  of  the  actors 
intended    for    the   various    roles?      (4)    Is    the    charac-. 
terization   of   any   role   traditional    from   the   actor  who., 
"created"  it? 

456315 


4  STUDYING  THE  PLAY 

e.  Was  anything  in  the  plot  or  the  characterization  de- 
rived from  a  source  or  sources  in  literature  or  in  life,  or 
was  the  drama  in  any  way  affected  by  a  parallel  treat- 
ment of  the  subject  with  which  the  author  was  familiar? 

/.  (1)  How  much  is  the  essential  personality  of  the 
author  evident  in  the  play,  as  suggested  by  what  you 
know  of  the  facts  of  his  life  and  the  nature  of  his  other 
works?  How  is  this  personality  manifested?  (2)  Did 
the  author  perhaps  revise  the  play  after  the  lapse  of 
several  years?  If  so,  is  it  possible  to  distinguish  between 
his  earlier  and  later  work  by  style  or  other  traits? 

g.  Have  the  additions  or  changes  been  made  by  other 
hands,  such  as  a  regisseur,  a  reviser,  or  an  editor  ?  What 
is  the  evidence  ?  Are  there  stylistic  or  other  differences  ? 

h.  Are  there  any  other  particularly  interesting  facts  in 
the  stage  or  editorial  history  of  the  play  ? 

II.    The  General  Nature  of  the  Play 

a.  Is  the  play  primarily  a  drama  of  plot-action,  of  char- 
acter, of  idea,  of  atmosphere,  of  spectacle,   or  of  dia- 
logue?    (It  is  possible,  although  not  probable,  that  two 
or  more  of  these  interests  are  balanced.)     Questions  b-f 
following  will  aid  you  to  give  your  reasons. 

b.  Is  there  much  action  in  the  story?    Is  it  sensational? 
exciting  generally  ?  at  all  ? 

c.  Have  you  generally  natural  characters  (i.  e.,  charac- 
ters  that  are   life-like)    in  natural   situations?    Or   un- 
natural   characters    in    natural    situations?     Or    natural 
characters  in  unnatural  situations?     Or  unnatural  char- 
acters in  unnatural  situations?     Discuss.     (In  this  con- 
nection make  some  allowance  for  the  idealizing  effect  of 
verse  if  the  play  be  cast  in  that  form.) 

d.  (1)  Is  the  play  perhaps  founded  upon  an  initial  situ- 
ation that  is  improbable?     If  so,  granting  the  initial  as- 
sumption, is  what  follows  probable?     (2)   Has  any  at- 


STUDYING  THE  PLAY  5 

tempt  been  made  to  make  the  improbable  circumstances 
seem  probable?  Explain. 

e.  (1)  Does  the  play  leave  you  impressed  with  any 
moral  or  spiritual  conception?  Or  with  any  material 
(sociological,  political,  or  vocational)  thought?  If  so, 
what?  (2)  Does  the  writer  appear  to  have  written  with 
any  other  object  than  to  produce  a  work  of  art?  In 
intention  is  he  primarily  an  artist,  an  entertainer,  a 
moralist,  or  a  propagandist?  Does  he  preach?  (3)  On 
sober  reflection  do  you  agree  with  his  ideas?  Why  or 
why  not? 

/.  Distinguishing  sharply  between  dialogue  that  ad- 
vances plot-action,  dialogue  that  interprets  the  character 
of  the  speaker,  dialogue  that  emphasizes  the  dominant 
thought  of  the  scene,  dialogue  that  gives  atmosphere  or 
aids  the  imagination  to  conceive  the  setting,  and  dialogue 
written  primarily  for  the  sake  of  its  own  epigrammatic 
or  rhetorical  brilliance,  attempt  to  determine  which  of 
these  various  types  appear  in  the  play.  Which  pre- 
dominates? Does  any  passage  accomplish  two  or  more 
of  these  purposes  at  once? 

g.  Classify  the  play  as  belonging  to  one  of  the  ordinarily 
accepted  types  of  drama,  as  tragedy,  comedy,  melodrama, 
farce,  and  the  like.  Give  your  reasons. 

h.  Classify  the  play  as  poetic,  rhetorical,  or  prosaic  in 
tone.  If  poetic,  is  its  effect  primarily  epic,  lyric,  or 
dramatic  ? 

i.  Is  the  play  realistic  in  method;  i.  e.,  does  it  earnestly 
seek  to  present  character  or  atmosphere  as  they  have 
been  actually  observed  in  life,  and  with  psychological 
truth?  Or  does  it  belong  to  the  romantic  school;  i.  e., 
does  it  strike  a  note  above  the  natural,  either  by  treating 
material  that  is  strikingly  adventurous  or  non-human,  or 
by  idealizing  character,  sentiment,  or  atmosphere  with- 
out attempting  photographic  fidelity  to  detail?  Or  is  it 
intentionally  satirical,  either  humorously  or  bitterly  pic- 
turing life,  especially  in  its  reputedly  great  moments, 


6  STUDYING  THE  PLAY 

depreciatingly  and  with  exaggeration  of  human  imper- 
fections (cf.  Joan  of  Arc  in  /  Henry  VI,  or  Philip  Moel- 
ler's  Helena's  Husband)?  (2)  Or  is  its  material  of  one 
of  the  above  types  and  its  treatment  of  another?  If  so, 
is  the  combination  artistically  effective  ? 

;.  Is  the  play  perhaps  symbolic,  either  by  general  alle- 
gorical intention,  or  by  the  introduction  of  persons  or 
objects  having  a  special  significance  aside  from  their 
function  in  the  development  of  the  plot?  If  so,  how  is 
the  symbolism  made  clear? 

k.  (1)  Is  the  play  stageable?  (2)  Does  it  act  well? 
(3)  Are  there  any  important  scenes  or  parts  that  depend 
for  their  effectiveness  upon  action  without  words  ? 

/.  In  the  light  of  this  paper  as  a  whole,  do  you  find  the 
author  most  interesting  as  philosopher,  as  poet  (epic, 
lyric,  or  dramatic),  as  observer  and  interpreter  of  human 
nature,  as  story-teller,  as  dramatic  technician,  or  as 
stylist? 

III.    The  Organization  of  the  Plot  Material 

a.  Is  the  drama  progressive;  i.  e.,  is  it  a  drama  of  ad- 
vancing plot-action  (as  in  Othello)  ?    Or  is  it  static;  i.  e., 
is  it  a  drama  of  mere  situation  and  atmosphere   (as  in 
Maeterlinck's  The  Blind)  or  of  discussion  (as  in  Shaw's 
Getting  Married)  ? 

b.  *(1)  Has  one  of  the  characters  a  definite  aim  that 
he    (she)    is   attempting  to   accomplish   throughout   the 
play?     *(2)   Is  he   (she)   the  central  character  or  pro- 
tagonist   (as    in   Macbeth),    or   the    antagonist    (as    in 
Othello)  ?    *(3)  What  are  his  (her)  motives?     (Always 
carefully  distinguish  between  the  motives  of  the  char- 
acter in  an  action  and  the  artistic  purpose  of  the  author 
in  making  him  so  act.)     *(4)  What  are  the  obstacles  to 
his  accomplishing  his  purpose  ?   the  will,  actions,  or  mere 

*  Questions  that  form  the  starting  point  for  elementary  study 
are  marked  with  an  asterisk  throughout  these  pages. 


STUDYING  THE  PLAY  7 

existence  of  another  person?  the  moral  law?  fate?  the 
supernatural  ?  his  own  nature  ?  social  opinion  ?  social  con- 
ditions? mere  accident?  or  something  other  than  any  of 
these?  *(5)  What  special  qualities  in  himself,  and  what 
assistance  (conscious  or  unconscious)  from  others,  aid 
him  in  his  attempts?  *(6)  Are  the  obstacles  removed? 
by  his  own  acts?  the  acts  of  others?  the  act  of  God  (or 
the  author)  ?  (7)  How  far,  and  by  what  means,  are 
your  sympathies  directed  toward  the  central  character 
by  the  author?  Are  you  sympathies  in  any  respect 
against  him?  (8)  How  far,  and  by  what  means,  are 
your  sympathies  directed  against  the  opposing  character 
(the  antagonist)  ?  Are  your  sympathies  in  any  respect 
with  him?  (9)  What  effect  have  the  facts  of  (7)  and 
(8)  on  the  dramatic  tension  of  the  play?  (10)  Or  is 
the  protagonist  a  pair  (as  in  Romeo  and  Juliet),  or  a 
group  (as  in  Hauptmann's  The  Weavers)  ?  Or  are  two 
sets  or  groups  evenly  balanced  (as  in  Galsworthy's 
Strife)  ? 

c.  (1)    How  many  characters  in  the  play?      (2)    En- 
deavor to  group  them  according  as  they  favor  or  oppose 
the  efforts  of  the  chief  active  characters.    Is  the  action 
of  each  in  the  matter  conscious  or  unconscious?     Does 
any  character  shift  from  a  favoring  to  an  opposing  atti- 
tude, or  vice  versa,  during  the  action  of  the  play?     Has 
this  any  determining  effect  upon  the  outcome?     (3)  Are 
any   characters    or   character-groups   indifferent   to   the 
main  action?     If  so,  what  is  his   (her,  their)   function? 
(Cf.  Ill,  n.)      (4)   Is  there  any  marked  symmetry  (or 
balance)    of   two    groups?      (5)    Are    there    any    link- 
characters  connecting  two  groups  and  thus  giving  the 
play  greater  coherence?      (6)    Could  any   character  be 
dispensed  with?    Would  it  be  better  so? 

d.  *(1)   In  structure  does  the  play  belong  to  the  syn- 
thetic type,  presenting  the  whole  conflict  from  beginning 
to  end,  with  Exposition,  Rise,  Crisis,  Fall,  and  Close  (as 
in  Romeo  and  Juliet)  ?    Or  does  it  belong  to  the  analytic 


8  STUDYING  THE  PLAY 

(retrospective  or  catastrophic)  type,  presenting  only  the 
consequences  in  the  final  scenes  of  the  story  (as  in 
Ibsen's  Ghosts)  ?  Or  is  the  play  constructed  on  a  model 
different  from  either  the  five-part  Rise-and-Fall  or 
the  analytic  type?  If  so,  what?  (Cf.  /.  Tamburlaine') 
(2)  Could  the  story  be  better  told  in  one  of  the  other 
forms?  (Distinguish  this  question,  as  a  whole,  carefully 
from  III,  a.) 

e.  (1)  In  the  case  of  a  play  of  the  synthetic  type,  locate, 
if  possible,  the  five  parts :  Exposition,  Rise,  Crisis,  Fall, 
and  Close.  (2)  Has  it  an  "exciting  force"  near  the  be- 
ginning, forcing  the  action  up  the  Rise?  (3)  Has  it  a 
"tragic  force"  near  the  middle,  forcing  the  action  down 
the  Fall?  (4)  Has  it  a  final  "force  of  suspense"? 
(5)  Has  the  play  a  "big  scene"?  What?  (6)  What 
parts  of  the  story  are  given  on  the  stage  and  what  are 
given  indirectly  by  narrative  later?  Are  any  sections 
given  by  characters  looking  off-stage  (as  in  The  Weavers, 
IV,  V)?  Do  sounds  of  cries  come  from  off-stage? 
Could  any  part  be  more  effectively  treated  by  one  of  the 
other  methods  indicated  in  (6)  ? 

/.  In  the  case  of  a  play  of  the  analytic  type,  locate  in 
the  story  (as  distinguished  from  the  play)  :  the  initial 
conditions,  the  critical  decision,  and  the  outcome.  How 
much  of  the  story  is  actually  represented  in  the  play? 
Does  the  play  contain  either  the  main  or  a  subordinate 
Crisis  of  the  story? 

g.  (1)  Is  the  play  divided  into  Acts?  How  many? 
Why  exactly  this  division?  Discuss.  (2)  Are  two  or 
more  successive  conflicts  to  be  traced  in  a  given  Act  (cf. 
Monna  Vanna)  ?  (3)  Are  the  Acts,  or  any  of  them, 
divided  into  Scenes?  On  what  principle?  How  many 
Scenes  in  all?  Why  this  number? 

h.  The  Opening :  *  ( 1 )  Why  open  the  play  at  that  pre- 
cise locality,  and  at  that  moment  of  that  day?  (2)  Do 
the  opening  scenes  hold  interest  in  themselves  ?  By  what 
methods?  Is  any  excitement  or  stir  created,  even  about 


STUDYING  THE  PLAY  .  9 

an  unessential,  for  a  curtain-raising  of  action?  *(3)  Do 
the  opening  scenes  reveal  the  past?  Naturally?  Subtly? 
Over  how  much  of  the  play  does  this  revelation  of  the 
situation  preceding  the  opening  of  the  play  (the  "exposi- 
tion") extend?  (4)  Do  they  prepare  for  the  future? 
How?  *(5)  Does  the  first  scene  "strike  the  key-note" 
of  the  mood  of  the  play?  How?  What  mood?  (6) 
Does  Act  I  effectively  introduce  all  the  important  char- 
acters? Is  the  identity  of  each  character  clearly  estab- 
lished at  his  or  her  first  appearance?  By  what  means? 
How  much  does  the  Act  reveal  of  their  personalities? 

(7)  Is  the  entrance  of  the  principal  character  delayed? 
Is  it  prepared  for  in  the  preceding  dialogue?    Is  it  given 
a  special  emphasis  by  the  display  of  significant  character 
traits  or  language,  by  costume,  or  by  stage  management? 

(8)  Are  any  characters  introduced  merely  to  facilitate 
the  exposition?     (9)  Is  the  opening  handled  with  strik- 
ing ingenuity?    If  so,  how? 

i.  The  Crisis:  *(1)  Is  there  a  supreme  crucial  moment 
in  the  play,  emphasized  by  the  author  and  involving  an 
incident  or  a  decision  that,  if  reversed,  would  have  com- 
pletely altered  the  Close?  (2)  Is  the  Crisis  located  to 
advantage?  Where?  (3)  Is  it  staged  to  advantage? 
How?  (4)  Does  the  plot  "zigzag"  up  to  the  Crisis 
through  alternating  excitement  and  calm?  (5)  Is  the 
Crisis  sharply  pointed  by  negative  preparation;  i.  e.,  is 
there  a  feeling  that  "All  is  lost"  until,  by  a  quick  reversal, 
"All  is  won"?  (6)  Is  there  a  long  "big  speech"  at  the 
Crisis?  (7)  Is  the  effect  of  the  Crisis  heightened  by 
surprise,  either  at  the  method  of  bringing  about  the 
Crisis,  or  at  its  method  of  solution,  or  by  a  "tag"  imme- 
diately following?  (8)  Is  the  Crisis  followed  by  a  "quick 
curtain"  or  dulled  by  following  speeches  of  a  lower 
pitch?  Is  the  handling  of  the  technique  here  a  matter  of 
the  taste  of  the  author  or  the  demands  of  the  staging? 

;.  The  Close:  *(1)  Does  the  main  conflict  of  the  play 
continue  to  the  end  of  the  last  Act?  (2)  Does  the  Fall 


10  STUDYING  THE  PLAY 

hold  the  attention  as  closely  as  the  Rise?  (3)  Is  the  sus- 
pense maintained  to  the  very  end?  By  the  introduction 
of  new  complications,  or  how?  *(4)  Is  the  end  the 
inevitable  result  of  character?  *(5)  Is  the  outcome 
ethical?  (6)  Is  the  end  determinate  or  indeterminate; 
i.  e.,  is  tranquillity  completely  re-established,  or  do  you 
wonder  concerning  the  permanency  of  the  solution? 
(7)  Has  it  taken  particular  skill  to  avoid  an  anticlimax? 
Is  any  other  method  of  climax  employed  than  the  plotted 
end-heightening  of  the  "well-made  play"?  Is  the  ending 
emphatic  through  action,  situation,  surprise,  irony  (cf. 
The  Weavers},  pictorial  effect,  or  thought?  Or  (as  in 
The  Madras  House)  is  it  not  emphatic  at  all?  (8)  What 
are  the  final  words,  to  whom  are  they  given,  and  why? 
(9)  Is  any  special  device  used  to  emphasize  the  dominant 
impression  of  the  end  (cf.  Hamlet,  Twelfth  Night,  The 
Passing  of  the  Third  Floor  Back)  ? 

k.  *(1)  Are  there  subplots,  one  or  more?  Loosely  or 
intimately  connected  with  the  main  plot?  (2)  Parallel 
with  the  main  plot,  in  contrast  with  it,  a  comic  relief  to 
a  serious  main  theme,  or  in  any  other  specific  relation? 
(3)  Or  is  there  perhaps  a  play  within  the  play?  If  so, 
what  is  its  function? 

/.  (1)  Is  the  plot  simple,  complex,  compound,  or  com- 
pound-complex? (2)  Has  the  play  Unity  of  Plot? 

(3)  Is  any  special  device  used  to  strengthen  the  plot- 
unity    (as  the   curse  and  the  ghosts   in  Richard  III)  ? 

(4)  Has  the  play  Unity  of  Mood   (cf.  Lady   Winder- 
mere's  Fan)  ? 

m.  Outside  of  the  subplots,  are  there  any  incidents  that 
do  not  help  to  bring  about  the  final  outcome?  If  so,  do 
they  serve  any  other  purpose,  such  as  throwing  addi- 
tional light  upon  any  important  character?  Illustrate. 
(See  also  questions  under  Scene,  VII,  a.) 

n.  Are  minor  characters  introduced  to  forward  the  plot, 
or  to  act  as  confidantes,  or  to  give  necessary  information 


STUDYING  THE  PLAY  11 

to  the  audience,  or  by  their  comments  to  interpret  the 
actions  of  the  principal  characters,  or  to  give  the  spec- 
tator the  feeling  of  approaching  misfortune,  or  from  his- 
torical interest,  or  for  comic  value,  or  for  several  of  these 
reasons,  or  why? 

o.  (1)  Is  the  setting  of  any  importance  as  affecting  the 
character  and  through  them  the  plot?  If  so,  how?  (2) 
Or  does  any  part  of  the  setting  act  directly  as  a  part  of 
the  plot  machinery?  If  so,  how?  (3)  Is  the  setting  true 
in  facts  and  atmosphere  to  the  supposed  time  and  place 
(cf.  The  Terrible  Meek)  ? 

p.  Which,  if  any,  of  the  following  conventional  "ex- 
traneities,"  formally  distinct  from  the  sequence  of  the 
dramatic  dialogue  proper,  are  used?  Discuss  the  reason 
for  the  employment  of  any  that  occur.  (1)  The  Induc- 
tion (or  Frame).  (2)  The  Chorus.  (3)  The  Dumb 
Show.  (4)  The  Prologue.  (5)  The  Epilogue  (some- 
times in  the  form  of  a  Cast  Epilogue). 

q.  Are  topical  allusions  or  other  extraneous  material 
introduced  into  the  dialogue?  Why  introduced?  How 
introduced — skillfully  motivated  or  crudely  dragged  in  to 
raise  a  laugh? 

r.  Is  any  plot  thread,  any  incident,  any  character,  or 
any  other  dramatic  element  given  a  disproportionate  em- 
phasis ?  Discuss. 

s.  If  there  is  an  accessible  source  of  plot,  compare  the 
play  with  it  to  determine  what  changes  the  dramatist  has 
made,  and  why. 

t.  (1)  What  is  the  relation  of  the  title  to  the  play? 
Does  it  emphasize  the  central  character  (as  Macbeth, 
The  Bohemian  Girl),  or  some  other  principal  character 
(as  The  Merchant  of  Venice)  ;  the  main  plot  (as  Love's 
Labour's  Lost),  or  a  subplot  (as  The  Maid's  Tragedy)  ; 
some  incident  in  the  play  (as  The  Tempest)  ;  the  thesis 
of  the  play  (as  Man  and  Superman)  ;  the  scene  of  the 


12  STUDYING  THE  PLAY 

play  (as  Sherwood)  ;  the  historical  background  of  the 
play  (as  The  Siege  of  Rhodes)  ;  the  atmosphere  of  the 
play  (as  A  Midsummer-Night's  Dream)  ;  the  occasion  or 
time  of  presentation  (as  Twelfth  Night)  ;  or  some  pecu- 
liar element  in  the  nature  of  the  play  (as  The  Adventures 
of  Five  Hours)  ?  (2)  Is  the  title  compound  (as  George 
Barnwell; .  or,  The  London  Merchant)?  If  so,  why? 
(3)  Is  the  title  fortunately  selected,  combining  signifi- 
cance and  attractiveness?  Explain.  Could  you  suggest 
a  better  title  for  the  play?  (4)  Does  his  choice  of  a  title 
throw  any  light  upon  the  purpose  or  intended  appeal  of 
the  author  (as  Everyman,  Intolerance,  Where  Is  Your 
Daughter,  Silk  Hosiery)  ? 

IV.    The  Characters 

a.  (1)  How  many  are  in  the  cast?     (2)  State  the  rela- 
tions of  the  principal  characters.      (3)   Are  they  strik- 
ingly contrasted?     Do  characters  of  even  similar  func- 
tions show  distinctive  traits  (as  the  three  Shepherds  in 
the  Second  Shepherd's  Play,   or   the   brothers   in    The 
Thunderbolt)  ?    Or,  on  the  contrary,  are  characters  given 
speaking    parts    ever    grouped,    without    individualizing 
touches,  in  one  class  (as  Bakers  1,  2,  3,  and  4  in  Cyrano 
de  Bergerac)  ?  *(4)  Do  you  know  only  the  actions  of  the 
characters ;  or  their  actions  and  motives ;  or  their  actions, 
motives,  and  thoughts ;  or  their  actions,  motives,  thoughts, 
and  moods?     (5)  Does  the  characterization  of  any  char- 
acter anywhere  appear  inconsistent?     Discuss. 

b.  In  the  case  of  tragedy,  is  the  hero  conceived  accord- 
ing to  Aristotle's  dictum  that  the  tragic  hero  should  be 
a  royal  and  naturally  virtuous  individual  with  a  weak- 
ness that  causes  his  downfall? 

c.  Select  an  important  character.     (1)  Is  he  living  or  a 
lay  figure?    *(2)  Does  he  interest  you  merely  as  one  of 
a  class   (Duke,  American,  banker,  tramp),  or  are  per- 
sonal and  individualizing  traits  added?     (3)  Is  the  por- 
trayal of  him  firmly  handled  from  his  first  speech  on? 


STUDYING  THE  PLAY  13 

What  does  that  speech  tell  you  of  him?  *(4)  Endeavor 
to  establish  his  motive  or  motives  at  every  important 
stage  in  the  action  of  the  play.  Discuss  his  methods  and 
their  ethics.  (5)  Is  he  a  simple  or  a  complex  character? 
(6)  Does  he  go  through  a  spiritual  crisis  or  struggle? 
Is  he  stationary;  or  does  he  develop,  growing  morally 
better  or  worse?  Is  such  development  psychologically 
natural  as  presented  ?  Or  does  your  attitude  toward  him 
change  because  you  come  to  know  him  better  (cf.  Trivul- 
zio  in  Monna  Vanna)  ?  (7)  Is  he  portrayed  at  length; 
or  vitally  projected  in  a  very  few  words  (cf.  Cordelia  in 
Lear)  ?  (8)  How  is  his  character  revealed?  by  his  plot 
action  ?  by  dialogue  ?  by  soliloquy  ?  by  his  stage  business  ? 
by  opinions  expressed  by  others?  by  the  actions  of 
others?  by  "acting  scenery"?  by  the  author's  description 
of  him  in  the  list  of  dramatis  personae  or  in  stage  direc- 
tions ? 

d.  (1)  Are  the  characters  anywhere  individualized  by  a 
mere  superficial  peculiarity  or  idiosyncrasy?     Are  any 
traits  exaggerated  or  distorted?     Cite.     (See  also  VIII, 
c,  11-12.)     (2)  Study  the  choice  and  connotations  of  the 
names  of  the  characters   (as  Justice  Shallow,  Orlando, 
Cordelia,    Borachio,    Roebuck   Ramsden,   John    Tanner, 
Zweifel). 

e.  (1)   What  is  the  author's  attitude  toward  his  char- 
acters ?    Does  he  worship  them,  admire  them,  sympathize 
with  them,  criticize  them,  or  seem  hostile  to  them?     Or 
does  he  simply  coolly  dissect  them?     (2)  Is  any  one  of 
the  characters  apparently  the  author's  mouthpiece? 

/.  Does  the  author  really  understand  human  nature? 
Or  does  he  apparently  understand  some  types  of  in- 
dividual and  not  others?  Discuss,  with  illustrations. 

g.  (1)  Are  the  characters  typical  of  the  age  and  place 
in  which  the  play  was  written?  (2)  In  the  case  of  a 
play  in  which  the  scene  is  laid  in  some  other  age  than  the 
author's,  does  characterization  of  the  author's  own  period 


14  STUDYING  THE  PLAY 

ever  intrude  into  the  drama  (cf.  Androcles  and  the 
Lion)  ?  How,  and  why  ? 

h.  Does  any  character  strike  you  as  being  of  a  type  not 
found  earlier  in  the  history  of  the  drama  (cf.  the  insane 
father  and  the  Machiavellian  villain  in  The  Spanish 
Tragedy;  The  Unc hastened  Woman)  ? 

V.    The  Theme 

a.  *(1)   Has  the  play  a  theme  (philosophic,  religious, 
scientific,  Sociological,  political,  mercantile,  or  the  like)  ? 
If  so,  state  it.     (2)  Is  it  explicitly  expressed  by  a  char- 
acter ;  or  is  it  implicit  in  portrayal  or  plot,  thus  appealing 
primarily  to  the  auditor's  emotions?     (3)  If  expressed, 
is  the  expression  naturally  introduced?     (4)  Is  it  given 
especial  emphasis  by  the  circumstances  of  the  stage  situ- 
ation, or  by  its  position  in  the  structure  of  the  play? 
(5)   How  soon  in  the  play  is  the  basic  thought  clearly 
enunciated  ? 

b.  (1)  Is  the  thesis  broadly  human  in  subject,  or  is  it 
propagandist?     (2)  Is  it  of  universal  or  particular  appli- 
cation as  to  characters,  time,  or  place  (cf.  Rada  and  A 
Belgian  Christmas  Eve)  ?     (3)  Is  it  in  harmony  with  the 
principles  of  ethics?    With  universal  ethics,  or  with  the 
special  ethical  ideas  of  a  particular  place  or  period?     (4) 
Is  it  of  any  real  importance?     (5)   Is  any  particularly 
nice  illustration  of  "poetic  justice"  prominent  in  the  play? 

c.  (1)  What  is  the  basis  in  the  play  for  the  ideas  here 
advanced?     (2)  Is  the  author  an  optimist,  a  pessimist,  or 
a  "meliorist"?     (3)    Is  his  attitude  impassioned,  argu- 
mentative, sweetly  reasonable,  humorous,  satirical,  flip- 
pant, self-congratulatorily  clever,  purely  objective,  or  one 
of  these  masked  as  another?    *(4)  Is  he  sincere?    What 
is  the  evidence  of  it?     *(5)   Does  the  author  treat  his 
subject  fairly,  doing  full  justice  to  both  sides  of  the  ques- 
tion?    Does  (can)  this  hurt  his  work  as  drama?     *(6) 
Are  his  alleged  typical  cases  really  typical?     Discuss. 


STUDYING  THE  PLAY  15 

(7)  Does  he  fairly  meet,  or  does  he  finally  (consciously 
or  unconsciously)  evade,  the  issue?  Or  does  he  frankly 
leave  the  question  in  the  form  of  a  problem,  with  an  in- 
determinate ending?  (8)  Do  you  agree  with  the  author 
in  his  thesis?  Why  or  why  not?  (9)  As  to  the  basic 
thought,  do  you  find  the  play  more  convincing  in  per- 
formance than  in  reading?  If  so,  can  you  explain  this? 

d.  (1)   So  far  as  you  know,  how  far  does  the  author 
deal,  in  his  other  works,  with  the  same  general  field? 
(2)    Does  he,  so   far  as  you  know,  elsewhere  advance 
the  same  thesis?     (3)   Have  you  any  information  as  to 
how  (by  his  family  life?  education?  reading?  associates? 
experience?)  he  gained  his  interest  in  the  general  field 
or  in  this  especial  thesis  ? 

e.  (1)  Does  the  author  appear  to  have  a  "philosophy  of 
life"?    Can  you  discover  what  he  thinks  concerning  any 
of  the  following:    (a)  God;  (b)  man's  present  life;  (c) 
man's  destiny;    (d)    man's   free  will;    (e)    any  political 
or  legal  system;  (f)  any  economic  system;  (g)  any  so- 
ciological view;  (h)  any  religious  attitude;  (i)  any  ethi- 
cal conception?     (2)  So  far  as  you  know,  did  his  attitude 
change  upon  any  of  these  points? 

/.  Are  the  ideas  or  the  sentiments  expressed  in  the  play 
especially  characteristic  of  the  period  in  which  the  drama 
was  written?  Discuss. 

VI.    Methods,  Devices,  and  Conventions  of  Dramatic 
Technique  and  Staging 

In  general,  dramatic  technique  aims  (1)  at  heighten- 
ing the  effect  of  the  plot  incidents,  and  yet  (2)  at  making 
the  heightened  story  appear  natural  and  probable — due 
attention  being  paid  to  (3)  the  possibilities  and  limitations 
of  production  on  the  given  stage.  The  heightening 
devices  of  Suspense,  Crisis,  Climax,  and  Surprise  have 
already  been  indicated  in  Section  III.  In  general,  ques- 


16  STUDYING  THE  PLAY 

tions  a-k  below  have  to  do  with  Heightening;  questions 
l-n  with  Naturalness;  questions  o-q  with  Stage  Limita- 
tions and  Conventions. 

a.  Does  the  dramatist  make  effective  use  of  Contrast? 
*(1)  Are  the  principal  characters  strikingly  contrasted? 
How?    Are  minor  characters  in  contrast  with  principal 
characters?    With  each  other?     (2)  Are  there  any  scenes 
of  peripeteia,  or  sudden  reversal  of  the  fortunes  of  a 
character  for  better  or  for  worse?      (3)    Is  any  char- 
acter torn  with  contrasted  emotions  (cf.  The  Merchant 
of  Venice,  III,  i)  ?     (4)   Is  there  any  use  of  dramatic 
irony,  where  the  audience  knows  the  facts  to  be  strikingly 
different  from  what  the  character  speaking  thinks?     (5) 
Is  there  any  use  of  dramatic  reversal,  where  an  action 
or  speech  brings  about  the  direct  contrary  of  what  the 
character  intended?     (6)  Is  there  any  use  of  strikingly 
antithetical  speeches  in  succession   (cf.  Richard  III,  I, 
ii)  ?     (7)  Are  there  contrasts  in  costume  effects?     (8) 
Are  there  contrasts, in  scenic  effects?    Contrasts  in  light 
effects?   (9)  Are  the  contrasts  effective?  Are  any  "theat- 
rical," overdrawn? 

b.  Does  the  dramatist  make  use  of  the  devices  of  Simi- 
larity (Resemblance,  Repetition,  and  Parallelism)?     (1) 
Does  the  very  possibility  of  the  plot  depend  upon  resem- 
blance  (as  in  A  Comedy  of  Errors}  ?     (2)   Do  several 
plot-threads  base  upon  the  same  emotion  or  theme,  thus 
blending  into  a  harmonious  whole  (as  in  A  Midsummer- 
night's  Dream)  ?     (3)  Do  various  plot-threads  have  the 
same  complication,  thus  reenforcing  each  other   (as  in 
Lear)  ?      (4)    Do   character-groups   parallel   each   other 
(as  in  Love's  Labour's  Lost)?     (5)  Are  there  marked 
parallelisms  in  the   characterizations  of  two   individual 
characters  or  in  their  costuming?     Why?      (6)    Is  an 
Idea  driven  home   by   repetition   either  of   thought,   or 
word,  or  action   (as  in  Les  Avaries)  ?     (7)   Is  an  Idea 
once  introduced  repeated  later  for  an  illuminating  inter- 
pretation (as  in  The  Will)  ?     (8)  Are  situations  or  inci- 


STUDYING  THE  PLAY  17 

dents  repeated,  either  seriously  (as  in  Gorboduc)  or  in 
conscious  or  unconscious  burlesque?  (9),  Are  either 
repetition  or  parallelism  of  speech  employed,  either  seri- 
ously to  give  intensity  to  the  thought,  or  for  ironic  con- 
trast, or  as  a  stylistic  device  (as  in  stichomithia  and 
euphuism)  ?  (10)  Are  there  parallelisms  in  background 
(as  in  A  Love  Story  of  the  Ages,  I,  III,  IV),  or  in  other 
scenic  effects?  For  what  purpose?  (11)  Is  the  repeated 
element  effectively  placed  (as,  for  instance,  to  give  the 
effect  of  rounding  the  circle),  and  is  it  given  the  proper 
proportionate  emphasis?  (12)  In  any  of  the  above  cases, 
is  the  repetition  exact,  or  is  it  diversified  for  Variety, 
for  Contrast,  or  for  Climax? 

c.  Is  there  any  application  of  the  principle  of  the  "point 
of  rest,"  either  (1)  to  establish  a  standard  of  sanity  (as 
Friar  Lawrence  in  Romeo  and  Juliet)  ;  or   (2)   to  give 
the  contrast  of  unconscious  impassiveness  (as  the  babe 
in  L'Interieur)  ;  or  (3)  physically  in  the  stage  setting  of 
the  scene? 

d.  (1)    Does  the  dramatist  carefully  mould  the  sym- 
pathies of  the  audience,  inclining  them  toward  certain 
characters  and  against  others?     (2)  What  devices  does 
he  employ  to  this  end?     Why?     (3)   Is  it  conceivable 
that  the  same  plot  might  be  treated  with  the  audience's 
sympathies  reversed? 

e.  Are  the  Acts  organically  constructed?    Are  they  cli- 
maxed?    (Compare  also  the  questions  on  the  Individual 
Scene  in  Section  VII). 

/.  *(1)  Is  any  attempt  made  to  preserve  Unity  of  Time 
or  Unity  of  Place?  (2)  Determine  the  total  supposed 
time-lapse  between  the  beginning  and  the  end  of  the 
play  ?  Cite  the  passages  upon  which  the  estimate  depends. 
(3)  Are  there  any  cases  in  which  no  time-lapse  whatever 
is  supposed  to  take  place  between  consecutive  Acts  or 
Scenes?  Or  does  the  time  of  successive  Acts  or  Scenes 
even  overlap?  (4)  Is  any  time-lapse  indicated  in  the 


18  STUDYING  THE  PLAY 

midst  of  an  Act  or  Scene  by  a  momentary  dropping  of 
the  curtain?  (5)  Is  any  device  employed  to  hasten  time, 
and  thus  obtain  greater  condensation  in  the  whole  or  in 
the  individual  Scene  (cf.  Othello,  I,  i;  II,  ii)  ?  (6)  Is 
there  any  departure  from  strict  chronological  order  in 
the  succession  of  the  acted  parts?  (7)  How  widely 
separated  geographically  are  the  places  in  which  the 
action  is  supposed  to  take  place?  (8)  Are  widely  separ- 
ated places  represented  on  the  stage  at  one  time  (cf.  The 
Old  Wives'  Tale;  Yes  and  No)  ?  (9)  Is  there  any  effect 
of  isolation  of  place,  either  in  the  whole  play  or  in  the 
individual  Scene  (as  in  The  Tempest;  Macbeth,  II)  ? 

g.  (1)  Are  any  special  methods  used  for  the  intensifi- 
cation of  suspense  (as  in  L'lnterieur  and  A  Night  at  an 
Inn)  ?  (2)  Are  any  special  devices  used  to  increase  the 
general  impressiveness  of  a  scene  (cf.  The  Witch,  V)  ? 

h.  (1)  Are  any  atmospheric  effects,  such  as  storm,  in- 
troduced organically  into  the  play  as  background  to  the 
human  situation,  and  to  give  it  emphasis  either  by  simi- 
larity or  by  contrast?  In  this  respect  observe  especially 
the  Crisis  and  the  Close. 

i.  (1)  Is  any  use  made  of  interpolated  lyrics?  Of 
interpolated  music  ?  Of  sound  effects  ?  Of  odor  effects  ? 
(2)  If  so,  what  is  the  purpose?  Realism?  Plot-mech- 
anism? Preparation?  Mood-emphasis?  Decoration? 
Symbolism?  To  cover  the  passage  of  time? 

;.  Is  there  any  use  of  a  repeated  highly  significant 
phrase  (das  Schlagwort)  to  enforce  an  idea  important  in 
the  progress  of  the  drama  (as  in  the  "compact  majority" 
of  An  Enemy  of  the  People)  ? 

k.  Is  there  any  striking  case  of  economy  of  dramatic 
means,  i.  e.,  of  the  accomplishment  of  several  dramatur- 
gic purposes  by  the  use  of  a  single  incident  or  device  (cf. 
The  Vikings  of  Helgeland,  II)  ? 


STUDYING  THE  PLAY  19 

/.  (1)  Is  every  action  of  every  character  in  the  play 
sufficiently,  clearly,  and  naturally  motivated;  or  do  you 
sometimes  feel  that  the  author  is  simply  pulling  the 
wires  of  puppets,  and  that  the  characters  are  not  acting 
for  reasons  of  their  own?  Cite  specific  instances.  (2) 
Are  minor  matters,  such  as  entrances  and  exits,  suf- 
ficiently and  clearly  motivated? 

m.  (1)  Is  the  preparation  for  coming  events  clear  and 
sufficient,  but  not  too  obvious?  (2)  Is  every  character 
clearly  identified  for  the  audience  on  first  entrance? 
How?  (3)  Are  pithy  speeches  summarizing  the  dra- 
matic situation  introduced  just  where  the  audience  needs 
to  be  reminded  of  all  the  facts  for  an  immediately  fol- 
lowing effect?  (4)  Are  special  pains  taken  at  any 
point  to  prepare  for  what  would  otherwise  seem  an  im- 
probability; or  to  divert  attention  from  the  improbability 
at  a  critical  moment  (cf.  The  Merchant  of  Venice,  I,  iii; 
Hamlet,  I,  i)  ?  (5)  Is  any  character  used  to  give  the 
spectator  the  feeling  of  approaching  ill  (as  Cassandra  in 
Agamemnon)  ? 

n.  Are  there  any  striking  cases  of  good  gradation  (cf. 
Othello,  III,  iii)  ? 

o.  (1)  Is  the  author  compelled  to  face  the  problem  of 
dealing  with  scenes  that  are  essentially  unstageable  (as 
in  Antony  and  Cleopatra,  III,  x)  ?  (Cf.  Ill,  ef  5.)  How 
does  he  solve  the  problem?  (2)  Have  the  mechanical 
difficulties  of  stage  presentation  forced  other  changes 
(cf.  The  Hour  Glass)  ?  Just  how? 

p.  Is  there  any  use  of  any  of  the  "dramatic  conven- 
tions"? (1)  Of  the  soliloquy?  (2)  Of  the  aside?  (3) 
Of  a  conversation  unheard  by  others  on  the  stage?  (4) 
Of  pantomimic  dialogue  while  others  are  talking?  (5) 
Of  foreign  characters  speaking  English  when  their  native 
tongue  would  be  more  natural?  (6) Of  quickened  stage 
time?  (7) Of  the  interposition  of  a  supposed  "fourth 
wall"  between  the  stage  and  the  audience?  (8)  Of  the 


20  STUDYING  THE  PLAY 

interpolated  tableau?  (9)  Of  the  carefully  grouped  full 
stage  picture  at  the  end  of  Acts?  (10)  Is  a  character 
ever  apparently  conscious  of  the  presence  of  the  audi- 
ence? (11)  Does  the  actor  always  refrain  from  turning 
his  back  on  the  audience  when  speaking?  (12)  In  any 
given  case  does  the  use  of  any  one  of  these  conventions 
appear  objectionable?  Why  or  why  not?  Does  the  type 
of  play  affect  the  matter?  Why?  (13)  Has  it  appar- 
ently required  special  skill  at  any  point  to  avoid  the  use 
of  any  one  of  these  conventions?  If  so,  what  device  was 
employed  ? 

q.  Is  the  scenery  sympathetic?  contrasted?  interpre- 
tive of  action  or  mood?  realistic  for  verisimilitude?  or 
neutral?  Is  any  use  made  of  "acting  scenery"? 

r.  (1)  How  far  is  the  technique  of  this  dramatist  based 
upon  that  of  any  other  dramatist?  Can  you  illustrate 
by  comparison  of  works?  (2)  How  far  does  this  author 
use  the  same  device  in  successive  plays  (cf.  Shake- 
speare's cases  of  mistaken  identity,  girl  pages,  etc.)  ? 

VII.    An  Individual  Scene 

a.  (1)  In  what  sense  is  this  a  scene?     (2)  What  is  the 
purpose  of  the  scene?     Does  it  advance  the  action,  give 
necessary  information,  indicate  character,   emphasize  a 
mood,  tranquillize  the  spectator  after  past  emotion,  give 
a  quiet  prelude  to  a  coming  emotional  blow,  supply  com- 
edy relief,  serve  as  a  "division  scene"  to  give  time  for 
change  of  scenery,  cover  a  necessary  change  of  costume, 
give  opportunity  for  pageantry,  add  lyrical  ornamenta- 
tion,  contain  interest  of  interpolated  feats  of  physical 
strength  or  skill,  or  does  it  effect  several  of  these  ends  ? 

b.  (1)  If  the  scene  is  really  a  dramatic  scene,  what  are 
the  characters  in  conflict?     (2)   Is  its  seriousness  indi- 
cated early  in  the  passage?     (3)  Are  its  time  relations 
with  the  preceding  scene,  and  are  the  intervening  events, 
also  indicated  early  and  with  sufficient  clearness?     (4) 


STUDYING  THE  PLAY  21 

Study  the  psychological  reactions  of  character  on  char- 
acter (cf.  The  Red  Robe,  II).  (5)  Is  there  a  crisis? 
If  so,  is  the  scene  balanced  about  the  crisis,  rising  to  and 
falling  away  from  it  in  fairly  equal  proportions  (as  in 
The  Merchant  of  Venice,  IV,  i)  ;  or  does  it  rise  to  the 
crisis  and  end  sharply  in  it  (as  in  Lady  Windermere's 
Fan,  III)?  (6)  Is  there  suspense?  How  produced? 
Is  there  anywhere  a  temporary  balking  of  the  expecta- 
tion of  the  audience  for  additional  suspense?  (7)  Is 
there  striking  gradation?  (8)  Is  there  a  "strong  cur- 
tain"? (9)  Does  the  scene  anywhere  contain  links  bind- 
ing it  to  a  coming  scene?  How?  (10)  Indicate  the  im- 
portant "plot-lines." 

c.  Are  there  few  or  many  people  on  the  stage?    Does  it 
suddenly  or  gradually  fill  or  empty?     Is  a  spectacular 
effect  aimed  at?     By  what  means? 

d.  Is    the    background    sympathetic?    contrasted?    con- 
tributory to  action  or  mood?  convincingly  realistic?  neu- 
tral? 

See  other  questions  for  Heightening;  Naturalness; 
Contrasts  in  characters,  costumes,  and  settings;  En- 
trances and  Exits;  Interpolations. 


VIII.    The  Style 

a.  Characterize  the  author  as  to  the  following  general 
stylistic  points,  citing  illustrative  passages  from  the  play 
where  advisable:  (1)  Obviousness  vs.  profundity  of 
thought.  (2)  Simplicity  vs.  obscurity  in  expression.  (3) 
Imagination.  (4)  Sentiment  vs.  sentimentality.  (5; 
Wit  vs.  humor.  (6)  Irony  and  satire.  (7)  Eloquence 
(8)  Epigrammatic  force.  (9)  Use  of  classical  and 
literary  allusion.  (10)  Use  of  figures  of  speech.  (11) 
Occurrence  of  the  memorable  phrase,  the  "inevitable 
word."  (12)  By  its  cleverness  does  the  style  ever  dis- 
tract your  attention  from  the  dramatist's  thought? 


22  STUDYING  THE  PLAY 

b.  (1)   Is  the  play  written  in  prose,  in  blank  verse,  in 
rhymed  verse,  in  some  other  form,  or  in  a  mixture  of 
two  or  more  forms?     Define  the  fundamental  medium. 
Why    has    this     fundamental    medium    been     selected? 
Where  there  is  a  mixture  of  several  forms,  try  to  deter- 
mine specifically  the  functions  of  the  various  media  (as 
to  mark  difference  in  mood,  to  set  off  the  "play  within  a 
play,"  to  point  the  "sentence,"  to  serve  as  "tag,"  and  the 
like).     How  well  adapted  are  they  to  their  respective 
uses?     Where  there  is  a  mixture,  can  you,  in  a  general 
way,  indicate  the  proportionate  amounts  of  the  various 
forms?     (2)  Analyze  and  criticize  any  special  metrical 
or  stanzaic  effects  (as  in  A  Thousand  Years  Ago).     (3) 
Analyze  any  peculiar  prose  effects   (as  in  Maeterlinck). 
(4)  Point  out  and  analyze  any  particularly  striking  tone- 
color  effects   (as,  "Whaf,  would.?/  thou  have  a  serpent 
sting  thee  Jwice?"). 

c.  Criticize  the  dialogue.     (1)  Does  it  sharply,  vividly, 
and  condensedly  express  character?     (2)  Is  it  natural  in 
tone?      (3)    Does   it"  pique   the   attention  by  a   constant 
ripple  of  small  surprises?     (4)  Does  every  speech  pro- 
duce a   distinct   change   in   the  mental   attitudes   of   the 
speakers?     (5)  Is  every  speech  crystal  clear  to  the  audi- 
tor?    (6)   Is  every  superfluous  word  elided?     (7)   Are 
the  speeches  climaxed,  or  do  they  weaken  as  they  end? 
(8)  Watch  for  cases  of  peculiar  power  of  suggestion  in 
the  use  of  words.     Cite.     (9)   Are  the  speeches  gener- 
ally long,  or  with  brief  interruptions?  or  do  they  vary 
greatly  in  length?     Or  is  the  dialogue  almost  uniformly 
snappy?     (10)   Is  any  attempt  made  to  balance  speech 
against   speech  as  to  length    (cf.    Greek    and    Senecan 
stichomithia)  ?    Or  to  give  a  balance  involving  repetition 
of  form  in  successive  speeches?    (1)   Is  there  any  tend- 
ency toward  the  use  of  special  devices  of  sentence  struc- 
ture,  diction,  or  prose  rhythm    (cf.   Lyly's   euphuism)  ? 
(12)  Do  the  characters  vary  from  each  other  in  speech 
as  to  sentence  length ;  sentence  complexity ;  correctness, 
appropriateness,   and   suggestiveness  of   diction ;   use   of 


i: ;  i  :;.          23 

V        *•          •     •       *     • 

figures  of  speech;  mannerisms;  conciseness;  music  of 
language?  Does  the  particular  stage  situation  modify 
their  natural  manner  of  speech?  Xaturally?  (13)  If 
dialect  is  employed,  how  far  is  the  dialectal  effect  de- 
pendent upon  mere  bad  spelling  or  mispronunciation,  on 
the  use  of  conventional  tag-words,  on  word-order,  on 
idiom,  on  rhythm,  or  on  thought?  (14)  Are  there  any 
speeches  that  will  not  deliver  well?  (15)  Note  any 
special  stylistic  idiosyncrasies  or  mannerisms  of  the  au- 
thor. (16)  Is  the  style  at  any  point  obviously  based  upon 
the  style  of  any  other  author? 

d.  (1)   Are  the  stage  directions  mere  stage  manager's 
notes,  or  are  they  given  at  length  and  with  literary  pol- 
ish?   Do  they  approximate  the  effect  of  a  description  in 
a  novel?     (2)  Do  they  contain  material  that  could  plainly 
not  be  represented  on  the  stage?     If  so,  what  is  the  au- 
thor's purpose? 

e.  Is  there  any  unevenness  in  the  writing  of  the  play? 
If  so,  can  you  account  for  it  on  any  ground,  as,  for  in- 
stance, a  mixture  of  an  old  and  a  revised  form,  or  inter- 
polations by  another  hand,  or  haste  ?    Discuss. 

/.  *\Yhat  brief  passage  or  passages  in  the  play  do  you 
find  most  impressive?  Why?  *Are  they  worth  commit- 
ting to  memory? 

BIBLIOGRAPHICAL  NOTE 

The  following  works  are  among  those  in  English  most 
illuminating  in  connection  with  various  phases  of  play- 
analysis.  Those  especially  valuable  for  their  respective 
purposes  are  starred. 

*  Archer,  W.,  Play  making;  A  Manual  of  Craftsmanship. 

Boston,  1912. 
*Baker,  G.  P.,  Dramatic  Technique.    Boston,  1919.     (As 

to  details  of  composition.) 
*Burton,  R.,  How  to  See  a  Play.     New  York,  1914. 


24  STUDYING  THE  PLAY 

Carter,  H.,  The  New  Spirit  in  Drama  and  Art  (New 
York,  1913)  ;  The  Theatre  of  Max  Reinhard  (Lon- 
don, 1914). 

*Chandler,  F.   W.,  Aspects  of  Modern  Drama.     New 
York,  1914.     (Analysis  of  social  viewpoints.) 

Cheney,  S.,  The  New  Movement  in  the  Theatre  (New 
York,  1914)  ;  The  Art  Theatre  (New  York,  1917)  ; 
The  Open- Air  Theatre  (New  York,  1919). 

Clark,  B.  H.,  The  Continental  Drama  of  Today  (New 
York,  1914)  ;  The  British  and  American  Drama  of 
Today  (New  York,  1915)  ;  ^European  Theories  of 
the  Drama  (Cincinnati,  1918). 

Craig,  E.  G.,  *On  the  Art  of  the  Theatre  (Chicago, 
1911);  Towards  a  New  Theatre  (London,  1913); 
The  Theatre — Advancing  (Boston,  1919). 

Hamilton,  C.  M.,  Materials  and  Methods  of  Fiction 
(New  York,  1908)  ;  The  Theory  of  the  Theatre 
(New  York,  1909)  ;  Studies  in  Stagecraft  (New 
York,  1914);  Problems  of  the  Playwright  (New 
York,  1917). 

Fansler,  H.  E.,  The  Evolution  of  Technic  in  Eliza- 
bethan Tragedy.  Chicago,  1914. 

*Henderson,  A.,  The  Changing  Drama.   New  York,  1917. 
*Krows,  A.  E.,  Play  Production  in  America.    New  York, 

1916. 
*Lewisohn,  L.,  The  Modern  Drama.     New  York,  1915. 

Matthews,  J.  B.,  A  Study  of  the  Drama  (Boston, 
1910)  ;  ^Shakespeare  as  a  Dramatist  (New  York, 
1913);  A  Book  About  the  Theatre  (New  York, 
1916)  ;  The  Principles  of  Playmaking  (New  York, 
1919). 

*Moderwell,  H.  K.,  The  Theatre  of  Today.     New  York, 
1914.     (Staging.) 

Phelps,  W.  L.,  The  Twentieth  Century  Theatre.  New 
York,  1918. 

Shaw,  G.   B.,  Dramatic   Opinions  and  Essays.     New 

York,  1907. 

*Thorndike,  A.  H.,  Shakespeare's  Theatre.     New  York, 
1916. 


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